Pastel Painting Lessons & Techniques

"Care, Matting, and Framing Pastel
Paintings"

One of the reasons pastel paintings and drawings are so beautifully
unique is the quality of the pure color particles and how these
catch and refract light. The pastel medium is a pure pigment applied
to a heavy paper, specially textured board, or cloth support. Pastel
pigments are dry, held together with a small amount of binder, and
come in the form of a round or square stick. These pigments are
the same as those used in liquid paints, such as oils or watercolors.
However, well cared for pastel art works from over 200 years ago
are as fresh and brilliant as the day they were created because
pastel does not discolor, fade or crack like liquid paints.

Pastel paintings and their color brilliance are very resilient
over time, as long as the surface is properly shielded. In order
to prevent damage, the surface of a pastel painting should never
be touched and should be protected from water. Displaying a pastel
painting framed under glass with archival matting materials provides
the protection necessary. Before framing, pastel paintings may be
covered with slick glassine slip sheets to prevent damage to the
surface. Of course, all valuable paintings and photographs should
be hung in a place that avoids direct sunlight, extreme heat, or
high humidity.

It is strongly recommended one work with a professional framer;
however, if you have some knowledge of mat cutting and framing,
the following suggestions help when framing pastel paintings.

MATTING PASTEL PAINTINGS

Mount and mat paintings using rag mat museum board (100%
acid free). Using acid free boards is more expensive but worth it,
because it does not yellow and will prevent the acidic damage common
with other boards.

Single or double window mats in neutral tones with bevel
or reverse bevel cuts work well. My preference is a single flannel
mat board with a bevel cut. Flannel boards are used with great success
because any recalcitrant pastel particles that may end up on the
mat are nearly invisible. Narrow mat borders have a tendency to
give a pinched look to the painting. Minimums of a 3 inch wide mat
border for smaller paintings, and 4 inch for larger pieces are recommended.

It is highly recommended an acid free foam core spacer be
attached to the underside of the window mat. This can be strips
of foam core held in place by tape or glue, or actually cutting
a window mat out of foam core with a slightly bigger window than
the top mat (1/4 to 1/2 inch). This unseen spacer lifts the mat
off the painting and allows pastel dust to fall behind the mat.
The spacer also provides for a larger than normal airspace between
the pastel painting and the glass; important because the painting
should never touch the glass.

Acid free foam core board works well as a mounting board.
It is lighter than mat board, and provides a thick padded barrier
at the back of the painting. Cut board to size and mount the pastel
to the board after indicating the mat window location with pencil.

To adhere the painting to the mount board there are a variety
of methods. Purists suggest mulberry or Japanese paper. My choice
is heat release acid free ¾ inch adhesive tape because it
is strong and releases completely without water. Attach only at
the top with a 'T-hinge' design where one piece of tape adheres
to the back of the painting and the other to the mount board. This
lets the painting hang freely within the mat package and allows
expansion and contraction of the different materials. Note: large
paintings may also require two loose T-hinges near the bottom to
prevent movement.

FRAMING PASTEL PAINTINGS

The frame type and profile is dependent on aesthetic choice.
Generally simple wood or metal frames show paintings well. Whatever
your choice, make sure the rabbet depth is sufficient to accommodate
the mat and glass package. The depth required is usually at least
¾ inch, one must measure to be sure.

If you are ordering pre-cut frames make sure they come cut
1/16 to 1/8 inch larger than the mat package to allow for expansion
of materials.

On a flat table, assemble all the pieces into the mat package
(mount board, painting, spacer, and top mat) and cover with precut
glass the size of the top mat. It is easier to check for any stray
particles on the mat board, and glass cleanliness, before placing
and securing the frame.

Single strength glass is recommended for framing; however,
should unacceptable levels of glare be encountered where the painting
is hung, anti-reflective glass can be substituted. Non-glare glass
is different that anti-reflective and is not recommended. Plexiglas
or acrylic are also not suggested for use with pastel paintings
because static electricity can pull pastel particles from the painting
surface.

When cleaning the glass, it is suggested a damp cloth be
used with a light touch. Do not spray the glass because moisture
can run below the frame edge and damage the painting.

Rubber or felt bumpers on the back of the frame allow air
circulation, help keep the painting level once hung, and prevent
marring of walls.

A NOTE ON PASTEL DUST

As stated, one of the reasons pastel paintings are so beautiful
is the quality of the pure color and how these particles refract
light. Because using heavy layers of fixative can change the colors
as well as destroy the refractive quality, many pastelists either
don't use fixative in the final stages of painting or at all. For
this reason, in the process of moving or shipping a painting small
amounts of pastel particles may become dislodged. This in no way
affects the quality of the painting and using a spacer, as suggested,
will allow the particles to fall behind the top mat.

Margaret Garrington is represented by the Hanson Howard Gallery
in Ashland, Oregon. Visit her virtual gallery at www.studiofox.com.
For information about pastel instruction contact the artist at (541)
482-8559 or via email at: margar@mind.net